#manqui
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no la manquies, gracias y segui tu camino, tomalo como consejo tu decisión te condena, tu decisión te condena soy libre aunque peke, el infierno siempre fue mi lugar !lo entendi y me di cuenta que no hay ángeles, solo putas sin perecio barato, son tus enseñanzas vida trola nv buena noche y mañana quiza te espere antes de matarme en mi cama buscando tu inspiración
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RIFA ARTISTICA Amigos! Durante estas manifestaciones perdí mis lentes ópticos al escapar del guanaco, asi que decidí hacer esta rifa para poder recuperar algo. Espero aprovechen la instacia para concursar por estos 10 excelentes premios que seleccionamos: . -5 pinturas hechas por @v.h.am -2 pack de libretas hechas a mano por @truena.cl -1 maniquí intervenido para dibujar -2 capuchas alienigenas hechas por @ttizni Si quieres participar contacta por DM y si no puedes ayuda compartiendo esta publicacion. FECHA DE SORTEO 20 DE DICIEMBRE 2019 (envío a regiones) MAS HECHO EN CHILE MENOS HECHO EN CHINA #artecontemporaneo #artesania #hechoamano #chile #rifaartistica #pintura #manqui #libreta #capucha #alien #regalo #guanacoql https://www.instagram.com/p/B5OzLk-F_72/?igshid=1b093tjtdmoiq
#artecontemporaneo#artesania#hechoamano#chile#rifaartistica#pintura#manqui#libreta#capucha#alien#regalo#guanacoql
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Hm. Anyways.
Manqui Titere.
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Quark teaching a vulcan how to smuggle peace in the second part of "The Manquis" is unexpectedly tense and I like it.
Gul Dukat has very gay enegry towards Sisko in that same episode, which is weird but I'm into it.
0/10, no suffering O'Brien.
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The Super-Sentinels for the upcoming Armchair Planet Who’s Who. Art by Reno Manquis.
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Teste Teste Teste
Mussum Ipsum, cacilds vidis litro abertis. A ordem dos tratores não altera o pão duris.Mais vale um bebadis conhecidiss, que um alcoolatra anonimis.Interagi no mé, cursus quis, vehicula ac nisi.Todo mundo vê os porris que eu tomo, mas ninguém vê os tombis que eu levo!
Quem num gosta di mé, boa gentis num é.Diuretics paradis num copo é motivis de denguis.Não sou faixa preta cumpadi, sou preto inteiris, inteiris.Copo furadis é disculpa de bebadis, arcu quam euismod magna.
Delegadis gente finis, bibendum egestas augue arcu ut est.In elementis mé pra quem é amistosis quis leo.Interessantiss quisso pudia ce receita de bolis, mais bolis eu num gostis.Paisis, filhis, espiritis santis.
Aenean aliquam molestie leo, vitae iaculis nisl.Viva Forevis aptent taciti sociosqu ad litora torquent.Não sou faixa preta cumpadi, sou preto inteiris, inteiris.Copo furadis é disculpa de bebadis, arcu quam euismod magna.
Casamentiss faiz malandris se pirulitá.Leite de capivaris, leite de mula manquis sem cabeça.A ordem dos tratores não altera o pão duris.Mauris nec dolor in eros commodo tempor. Aenean aliquam molestie leo, vitae iaculis nisl.
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Top 10 African Movie Directors
Africa has had an important spot in the internal film industry for close to one century. In this article, we are going to feature the best African movie directors of all times since African produced films started gaining international recognition.
Related: Hottest Actors in South Africa – Top 10
Without further adieu, here are the most prolific, top ten African movie directors.
Neill Blomkamp
Born on 19th September 1979 in Johannesburg South Africa, Neill Blomkamp has had a successful string of movies directed by him since his debut in the film industry in the late 1990’s as 3D animation expert. His most famous movie is District 9, which was Africa’s best Sci-Fi film in 2009. Its success made him to be nominated for the Academy Award for Best Adapted Screenplay.
Niell Blonkamp has so far directed 18 movies with more than a dozen of them being done in 2017 alone.
Abderrahmane Sissako
Abderrahmane Sissako was born on 13th October 1961 in Mauritania. He is best known for his movie Waiting for happiness. This movie expresses the limbo encountered by the dream of most people from his native land to emigrate to France and other destinations abroad as the land of their dreams.
Sissako’s films are focused primarily on issues pertaining society, more so humanism, social consciousness, globalization, displacement of people, exiles and the intricate relationships between North and South. In this theme, he explores the fate of Africa in the global affairs.
Souleymane Cissé
Souleymane was born on 21st April 1940 in Mali. He has won two awards – Sutherland Trophy, and Cannes Jury Prize. He was nominated for Independent Spirit Award for Best International Film. He debuted his filming career with a medium-length film titled ‘Five Days in a Life’, which is a story about a young man who drops out of Madrassa to become a petty thief. This was followed by ‘The Girl’ in 1974, which is about a young mute girl who has been raped, becomes pregnant and is rejected by both her parents and those of the child’s father. Unfortunately, the film was banned and him jailed. However, he never gave up.
In 1974, he produced ‘Work’ (Baara) which received him several awards including Talon prize award at FESPACO. In 1987, he released Yeelen, which won him Jury Prize at the Cannes (1987). He went on to produce many other films later on.
Another must read: Most Populous Countries in Africa
Moufida Tlatli
Moufida Tlatli was born in Tunisia in 1947. She worked extensively as a film editor before launching her career later on as a film director. She is renowned for her famous film The Silences of the Palace. This depicts the story of the women sufferings in silence and secrets of the pain of the servant women during the times of the French colonial rule in Tunisia. This film was released in 1994.
Other notable films directed by her include ‘The Season of Men’ released in the year 2000 and ‘The Season of Women’ released in the year 2004.
After the civilian overthrow of Zine El Abidine Ben Ali in 2011 during the ‘Arab Spring’, she was appointed as Minister for Culture in the successive government.
Dani Kouyaté
Dani Kouyate was born on 4th June 1961 in Burkina Faso. He began his filming career with Biakoro in 1989. Before that, Kouyate had been involved in performance arts theater for quite some time prior to enrolling for Cinematography at the Ouagadougou African Institute of Cinematic Studies.
His famous film was Keïta, l’Héritage du Griot which was released in 1985 retracing the life of the founder of the Mandingue Empire, the legendary Soundjata Keïta. Inspired by its success, he directed another one ‘Sia, le rêve du python’, depicting the legend of Wagadu of the Soninke myth which was released in 2001. He has directed several TV series and short quite a number of short films.
Related: Hottest African Actresses in Hollywood – Top 10
Mohammed Lakhdar-Hamina
Lakhidar-Hamina was born on 26th February 1934 in Algeria. He is best known for his famous film Chronicle of the Year of Embers that was done in 1975. Lakhdar-Hamina’s early career was emblemized in the struggle for Algerian independence from France. The Algerian liberation movement – Algerian National Liberation Front., sponsored the early stages of his film career. Initially, he collaborated with others in his first film productions including Our Algeria (Djazzaïrouna), which he collaborated with Pierre Chaule and Djamel Chanderli in its production. The film was about the goals of Manquis – an Algerian nationalist liberation movement. It was produced in 1960.
Other notable films included Yasmina (1961) which was about a refugee girl, The Guns of Freedom (1961), and The People’s Voice (1962). After Algeria gained independence in 1962, the theme of his later films focused on national identity and the self in postcolonial emancipation.
Apart from the Chronicles of the Year of Embers, another film that shot to international fame is ‘The Winds of the Aures ‘which received the Best First Works Award at Cannes in 1966. Chronicles of the Year of Embers remains the only African and Arab film to have won the Golden Palm at Cannes.
Djibril Diop Mambéty
Djibril Diop Mambéty was born on January 23, 1945, in Senegal. He was a poet, orator, composer, actor and film director. Although he directed few films, they were a masterpiece in their own right in terms of their originality and unconventional narrative style.
He entered the film industry with his famous title “A City of Contrasts” in 1968. This was followed by his second film “Badou Boy” which was released in 1970. The masterpiece that brought him to international fame was Touki Bouki (Hyenas Journey) which was revered for its sophisticated artistic narrative style. It was released in 1973.
Though he had few films to his accolades, their quality was enough to put him into the legendary records of African film directors.
You May Also Like: Richest Countries in Africa
Sarah Maldoror
Sarah Maldoror is regarded as the matriarch of African film. She is Guadalupean of African descent born in France. She dedicated most of the film towards African issues, notably, the African struggle for independence, liberation, and justice. She was feted in 2011 by the French government by being awarded the National Order of Merit in contribution to world culture.
She is famously known for Sambinzanga, a film she directed which was focused on Angola’s independence struggle and the brutally meted upon Africans, which galvanized the independence movement. He debut film was Monangambee, which was about women experiences in the liberation struggle in Angola and was done in 1968.
In her career spanning over two decades, she has over two dozen films to her credit.
A Relevant Read: West African Countries
Ousmane Sembène
Ousmane is considered the patriarch of African film. He was born on 1st January 1923 in Senegal. He was so much attached to social issues affecting Africa then, more so issues related to colonialism, newly independent but oppressive African governments and the plight of the people in those situations. He had most of his punches in literature than in the film. Several of his works were banned in French West Africa for his radical extremist approach to issues.
He had a great record of works in literature and films. His most famous film is Guelwaar (Senegal, 1993). Other notable films included Xala and Ceddo. Ceddo was the most notoriously censored film by authorities in French West Africa.
Youssef Chahine
Youssef Chahine was born on 25th January 1926, in Alexandria Egypt. The Lifetime Achievements Award granted to him at Cannes caps his career that spanned close to four decades. His career began in the 1950’s and by the time of his death, he had 44 films to his credit.
The most famous film is Cairo Station, which was recorded in 1958. He entered the film industry in 1950 with his title Baba Amin (Daddy Amin) which was followed closely by the second title Ebn el-Nil (Son of the Nile) which was done in 1951. Cairo Station was his third title. Most of his films were well received internationally but had many problems in his own native country – Egypt.
This is primarily because some of them ran counter to the political climate at the time and seemed against Islamic religious faith. He was a frequent victim of death threats from Islamic extremists. However, he too received criticism from American establishment for his film that sought to depict American foreign policy as the cause of millions of deaths across the globe.
Related: Most Popular African TV Shows – Top 10
Conclusion
Africa has a rich cultural heritage. It needs more talented film directors to drive the rich African narratives that remain untold. If Africa has to stand strong on the global arena, then, its feet must be deeply anchored in its culture and its voices made to reverberate across the globe. Thanks to these great African movie directors that pace has been set.
The post Top 10 African Movie Directors appeared first on Afrikanza.
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L’OTELLO DE VERDI PER KAUFMANN-ÁLVAREZ-LOMBARDI-PAPPANO
La gravaci�� en estudi d’una òpera complerta és un fet excepcional que ja creiem desaparegut des de que la EMI va anunciar després del Tristan und Isolde dirigit també per Pappano, que era la seva última gravació en els mítics estudis de Abbey Road.
Fa justament un any el director anglès va reunir les forces de l’Accademia Santa Cecilia de Roma per gravar l’Otello que avui he escoltat com s’han d’escoltar la música, en un equip com cal, sense auriculars i sense atendre a l’ordinador, telèfon o tablet, mentre s’escolta la música, tota l’atenció concentrada en el gaudi de la música i les veus. L’experiència ha estat satisfactòria però no entusiasmant
Per l’ocasió Pappano va triar a Kaufmann, amb qui ja havia fet l’obra a la ROH amb crítiques molt dispars, Carlos Álvarez, segurament el millor baríton verdià del moment i la per a mi desconeguda fins ara, Federica Lombardi.
Oblidem-nos de dues coses: Els repartiments del passat que ja no tornarà i de si Kaufmann al teatre no se’l sent fent aquest rol, perquè ara es tracta d’opinar d’un producte fet per escoltar a casa i que sempre ha tingut, abans i ara, tots els dubtes que es vulguin sobre la manipulació tècnica i els seus resultats, Podria fer una llarga llista de manipulacions prou conegudes de la història discogràfica amb protagonistes il·lustríssims, degudament manipulats o fins i tot utilitzant notes d’altres col·legues amb més bona forma per atacar les notes més problemàtiques, per no parlar de les repeticions inacabables de fragments per trobar el moment ideal per quedar immortalitzats. És per això que avui parlaré d’un producte cultural de qualitat, on tots sabem amb les cartes sobre la taula el pros i contres que sempre hi ha hagut en les gravacions en estudi, que no cal dir que han deixat productes memorables i referencials per donar a conèixer, obres i intèrprets.
Aquesta gravació no m’ha semblat referencial, de fet no ho creia abans d’escoltar-la que ho fos, però si que he de dir que és una bona gravació de l’obra mestra verdiana, perquè al capdavant hi ha un director que sap molt bé el que és dirigir òpera i sap crear una tensió teatral molt propera al que s’escolta en un teatre.
Un altre punt a favor és la magnífica manera de dir el text dels tres principals protagonistes. La seva interpretació m’ha semblat intel·ligent i sensible.
Jonas Kaufmann no té una veu gran i això en aquesta òpera d’embats i combats entre l’orquestra i els cantants, per molt que Pappano tingués cura de no ofegar-lo, va motivar molts desencisos en el debut londinenc del tenor bavarès. El disc en canvi ho permet tot. Kaufmann canta quasi sempre relaxat sabent que allà on no arribi ell arribarà el magnífic enginyer de so Jakob Händel. Podem apreciar tots els matisos d’una interpretació que va des de l’heroïcitat inicial d’una sortida rotunda (en el teatre això no passava) fins a la humanització extrema d’un quart acte perfectament matisat sense exclamacions més pròpies del verisme més malentès i tronat. Kaufmann perfila molt bé tota l’amplíssima gamma de tensions psicològiques des d’una vessant potser excessivament planera, el que fa que la a la seva interpretació li manqui grandesa. És obvi que la seva interpretació és molt més propera a Vickers que no pas a Del Monaco, ja sigui per aquest aprofundiment psicològic que el tenor canadenc atorgava a la seva genial caracterització, més que no pas a la contundència vocal indiscutible del grandiós Del Monaco, paradigma del Otello verdià per excel·lència. Jo no tinc manies i m’agraden tots dos. El tenor bavarès té una dicció més cuidada que el canadenc i fins i tot té una emissió de les vocals obertes molt més acurada que el florentí, però no acaba d’arrodonir la seva interpretació perquè tot i fer un treball excel·lent no m’ha deixat petjada, fins i tot hi ha hagut moments claus del segon acte, que no me n’he adonat que han passat.
Carlos Álvarez està esplèndid, molt, no deixa frase sense estudiar ni paraula sense matisar, no fa un Jago grandiloqüent, exagerat i truculent, sap com guanyar la partida i no li cal fer gran guinyol. Vocalment la veu sona esplèndida, clara, gens afectada i completament col·locada en el seu lloc just. Ell amb Kaufmann tenen els millors moments en les confrontacions del segon acte i en tota la primera escena del tercer on el joc endimoniat és absolutament creïble.
Frederica Lombardi m’ha semblat una correcta soprano, una Desdemona més que no deixa petjada perquè en aquest rol només tres o quatre noms ho han fet de manera memorable. Verdi no va estar molt inspirat i només va deixar-li dos moments per a mi on la soprano si és excel·lent pot deixar empremta, el duo amb Otello a l’inici del tercer acte i el gran concertant. Lombardi fent coses boniques i detalls distingits acaba sent una més, com tantes altres.
La resta del cast m’ha semblat de poc relleu, sobretot el Cassio de veu ingrata del tenor armeni Liparit Avetisyan. Tampoc el Lodovico de Riccardo Fassi, un rol que en les gravacions es feia cantar a grans noms malgrat la seva brevetat, m’ha semblat especial remarcable, ni la Emilia de Virginie Verrez. Tots ells immersos en una anodina correcció.
L’orquestra Santa Cecilia sona esplèndida, no tant el cor que m’ha semblat que en algun moment no donava la talla, amb sonoritats poc agradables fins i tot.
És un bon Otello, millor que alguns dels comercials que hem escoltat tota la vida, però dubto que sigui una gravació a la que recorreré moltes vegades quan vulgui electritzar-me, perquè potser a aquest bon producte li manca precisament això, més càrrega explosiva, perquè la humanització extrema d’alguns moments l’ha desvestit de la grandesa shakespeariana/verdiana de l’original.
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Gràcies FEDA per que no ens manqui la llum (en Encamp) https://www.instagram.com/p/B-zFwcIF3Xf/?igshid=qjt83pxpf12p
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francisperfectionbonnefoy ha risposto alla tua foto: DKFHKJSDHF “IF YOU ARE FROM A HISPANIC COUNTRY...
is this people okay
i am howling with laughter, then i remember they can all vote and their vote counts as much as mine
(or more than mine, bc geopolitical “balance”)
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vimeo
Nike React: Feels like (2018) from Dante Zaballa on Vimeo.
Seven athletes were asked to describe their feelings while using "React" for the first time.
Here’s how Elaine Thompson, Andrew Bumbalough, Kylian Mbappé, Simone Biles, Manqui-Ge and Qiao Xin felt like.
These animations can be found in your nearest Nike shop : )
dantezaballa.com/Nike-React
Agency: Curious Beast
Director: Dante Zaballa
Character design: Juan Molinet, Dante Zaballa
Additional animation: Ezequiel Torres
Executive producer and Creative Director: Colin Brown
Editor: Kurt Nishimura
Sound Design: Josh Derry
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Titlis vem bem aqui caralhis
Mussum Ipsum, cacilds vidis litro abertis. Viva Forevis aptent taciti sociosqu ad litora torquent. Atirei o pau no gatis, per gatis num morreus. Nec orci ornare consequat. Praesent lacinia ultrices consectetur. Sed non ipsum felis. Nullam volutpat risus nec leo commodo, ut interdum diam laoreet. Sed non consequat odio.
Leite de capivaris, leite de mula manquis sem cabeça. Diuretics paradis num copo é motivis de denguis. Sapien in monti palavris qui num significa nadis i pareci latim. Interessantiss quisso pudia ce receita de bolis, mais bolis eu num gostis.
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Mussum Ipsum
Mussum Ipsum, cacilds vidis litro abertis. Copo furadis é disculpa de bebadis, arcu quam euismod magna. Posuere libero varius. Nullam a nisl ut ante blandit hendrerit. Aenean sit amet nisi. Não sou faixa preta cumpadi, sou preto inteiris, inteiris. Cevadis im ampola pa arma uma pindureta.
Detraxit consequat et quo num tendi nada. Quem manda na minha terra sou euzis! Leite de capivaris, leite de mula manquis sem cabeça. Interagi no mé, cursus quis, vehicula ac nisi.
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Joen feat Joel aka Manqui mi terrible compa weno pa la pega! (at Monticello Grand Casino)
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Newcastle United sign full-back Javier Manquillo from Atletico Madrid
Newcastle United sign full-back Javier Manquillo from Atletico Madrid
Manquillo has represented Atletico Madrid since 2011, but has not turned out for the Spanish giants since the 2013-14 campaign after loan spells at Liverpool, Marseille and Sunderland.
The 23-year-old defender made 20 Premier League appearances during a loan spell at Sunderland last season, but has now made the permanent switch to Newcastle, signing a three-year contract with the Magpies.
Manqui…
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Newcastle United sign full-back Javier Manquillo from Atletico Madrid
Newcastle United sign full-back Javier Manquillo from Atletico Madrid
Manquillo has represented Atletico Madrid since 2011, but has not turned out for the Spanish giants since the 2013-14 campaign after loan spells at Liverpool, Marseille and Sunderland.
The 23-year-old defender made 20 Premier League appearances during a loan spell at Sunderland last season, but has now made the permanent switch to Newcastle, signing a three-year contract with the Magpies.
Manqui…
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#Atletico Madrid#Christian Atsu#Florian Lejeune#Jacob Murphy#Javier Manquillo#Liverpool#Marseille#Newcastle United#Sunderland
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